Monday, June 08, 2009

There is very little unknown about Bent Handstyle today. Presently, he is a superstar. Astronomically, he is nothing like a superstar, which burns massive amounts of energy at its brightest point then dies. Rather, Bent Handstyle has found a way to add more propellant to an already stellar career. Those with less nerve may caution against all the attention. Insinuating that nothing can last forever. These feelings are simply both a shame and a fault within weak humans being. Furthermore, that trend of thinking reveals how absolved some people can feel when they read Bent's material. If you were truly engaged you could understand that Bent's work is timeless like the expansion of the universe and still necessary like the collapse of a star, bringing forth a new solar system.

Bent spent most of his life in the lower east side of the city. It was an area rich in style and culture but more importantly the community was aware. I believe it is safe to say without his background we would never get the true grit shown in The Rider. What Bent does is provide us with an unapologetic blast of realism and after such an attack we should be left dumbfounded. But that is when the true genius of The Rider comes through. Instead of being left out in an unknown world Bent attempts, successfully, to reel us back to our sheltered lives. But the question is who wants to live there now.

The Rider, a short commentary first posted here on cmogenius, is no less necessary than other classics like The True Story of Mr. Laptop., andRamblings Of A Sleepless Night. Actually I would go as far as to say The Rider stands on its own. Seeming similar to casual readers, but defiant in its execution to those well learned in Bent's work. If there needs to be a concern it should be that we only get a sample from him.